Current research relies on previous studies of this picture, but is too restricted by considerations of the subject's identity: by increasing our scope of vision we find ourselves looking at the world which surrounds the protagonists.
Plumbing the depths of the images reveals those mysterious connections linking one's inner and outer worlds - between internal ego and external surroundings - and there we find an enchanting and dreamlike view of reality and thus intuitively understand the journey which drives everyone to discover it.
Our eyes focus to probe these deep mysteries.
The figures are dreamy; they are travelling towards their unknown destination; the "journey" is uncertain, perhaps only in thought, a reflection in the puddles of water on the canal shore.
The principal subject of the painting is the desire to escape.
We cannot dismiss consideration of the psychological characteristics of the subjects of the Bohemian Gallery, but now the painted images become ideal figures, like fictitious dreamers; the work does not seem to connect to the nicknames of the painted figures - originally a connection with the objective reality from which they came - but they are an integral part of the work and they suggest the key to an understanding of the composition.

The time of the idealist and the dreamer has passed, the utopians have left ever more space to the social climbers and to the plastic world of the consumers.
This is the hypocrisy that is going to govern the world with its frenetic race for power and money, a grab for material possessions that completely loses sight of the fact that the important things in life cannot be bought.
Nowadays there is little space for those who still daydream. But in our inner world, dreams take the place of that melancholy reality. Inside our ideal garden, dreamers still have the space they deserve, allowing a detached perspective on this dull reality.
Is this the focal point on which the research axis turns : to whisper in the ear of those that are observing the image of that utopia with the illusion to find again that outside world in search of a chimera.

I think that the world inside us is completely disconnected from the outside world. We spend our lives trying to find our inside world in the external world.
Often the problem is that in order to find the world out there, we must first thoroughly understand our inside world. This is not simple for some people.
There is the dark and the light, and we are in the middle with our researches and our doubts mixed with difficulties of communication. We scan that dazzling and indefinable light - which symbolizes the external world - perhaps we are only searching for a way into the shrouded, grim darkness. Our insecurity is rooted in our lack of understanding of our own being, and so we get by with indifference on the journey of our short existence.
It is a metaphor of reality: the figure live, dream , travel between these two elements. This is their journey, their life, it is their quest for happiness. A cold light permeates the scene: it is the colour of the spleen. The dark blue symbolizes the dissatisfaction that stokes the fire of our inquisitiveness. This is the amniotic fluid in which this insane view of reality floats.

The journey that leads to the birth of the picture is similar to the precise moment in which we have a flashback of a distant memory: we are particularly struck by a scene because of a series of unexplained reasons, and this scene is fixed firmly in our mind. At this point our mind adds or modifies some details, so that we might identify it even more as "ours". At the same time, some of the unremarkable details are removed; what remains is an indelible reminiscence and the emotion in that moment becomes entirely our own.
This process is a bit like touching up a photograph in order to make it fit our personal taste.
What I try to do in painting is exactly like this : to make that external world more " mine".